GUGALNIK IDEJ 2017 - KUHARICA PRIDNA, ČEDNA JE VSE HVALE VREDNA

Avtorja: Tanja Devetak, Eduard Čehovin

Razstava v okviru projekta Gugalnik idej 

Kuhinja je prostor, ki reflektira mnoge socialne vidike družbe v njeni mikro in makro podobi. Kuhinja je s svojimi kulinaričnimi dobrotami in radialnim ravnotežjem pozicij sedenja udeležencev prostor, znotraj katerega se v neformalnih prispodobah odslikavajo razmerja v skupnostih. Sorodna relacija se formira kot refleksija družbenih razmerij znotraj izbrane skupnosti v izraznosti vizualne umetnosti. Slednja ponuja odgovore, vprašanja, dvome, namige, dejstva o oceni gibanj in mirovanj v različnih formah skupnosti.

Vsebinsko in izrazno projekt KUHARICA PRIDNA, ČEDNA JE VSE HVALE VREDNA sloni na osnovnih terminih – konceptualnih gradnikih, ki so sorodni kuhinji in vizualni umetnosti:

• PROSTOR – kuhinja in vizualna umetnost sta refleksija določenega materialnega in abstraktnega prostora. Materialni prostor določa fizično razporeditev razstavnega materiala in reflektira njegove karakteristike, omejitve in prednosti. Razstavljeni material reflektira tudi abstraktni, širši prostor, družbenega, kulturnega, gospodarskega in socialnega konteksta. Dinamika gibanja in združevanja različnih prostorov je prisotna v kuhinji (vplivi različnih kuhinj, priborov, posod, ljudi ipd.) in v vizualni umetnosti (razstavljanje po svetu v različnih razstavnih prostorih, vplivi razstavnih dogodkov drug na drugega ipd.).
• LIKOVNE VREDNOSTI – pri razstavnem materialu se vrednotijo in analizirajo likovni elementi (barva, linija, oblika, tekstura ipd.). Izraze uporabljamo tudi pri hrani in jih vključujemo kot elementarne gradnike vizualne percepcije.
• ŽIVLJENJSKI STIL – kuhinja/hrana in vizualna umetnost sta del gradnje življenskega stila. Kavarne so integralni del muzejskih in galerijskih prostorov.

V zgodovini kuhinj na Slovenskem so ljudje uporabljali papirnate ali tekstilne vezene stenske krpe nad štedilnikom. Bile so izjemno slikovno pripovedne in istočasno izpostavljale neko trditev vezano na kuhanje in družbene kontekste domačega življenja, ter vzpostavljajo določeno sociološko  pozicijo spolov v kontekstu kuhanja in kuhinje. Zgodovinske podobe stenskih krp so uporabljene kot inspirativno vizualno izhodišče.  Motivi človeških podob štirih žensk in moškega, ki so narisani na stenskih krpah, so izvzete iz originalne celote in družbenega konteksta nastanka, in v posodobljeni različici postavljene kot prostorske postavitve v realnem velikostnem razmerju človeka. S premikanjem po prostoru, obiskovalci izkusijo človeške figure iz različnih zornih kotov in zaradi različne pespektive pogleda na njih in dekonstrukcije osnovne likovne podobe telesa, tvorijo nove telesne strukture, ki se odzivajo na razstavni prostor. Poleg dekonstruiranih telesnih form z različnimi elementi likovnih intervencij, po prostoru visijo tudi napisi, ki so preobraženi teksti iz vezenih stenskih krp. Teksti so šaljivi, šegavi, igrivi, poučni in občasno tudi vzgojni (Blagor ženi, ki ima dobrega moža; Lepšega na svetu ni, kot če na sreči dom stoji; Ne štedi mi z vodo, očisti posodo! ipd.). Napisi opredeljujejo različne identitete, ki jih ženske prevzemajo v kontekstu družbenega konsenza v procesu kuhanja in relacije do kuhinjskega prostora. Razstava je opremljena z avtorsko spremljajočo zvočno podlago. 

Authors: Tanja Devetak, Eduard Čehovin

The Exhibition in the scope of the project Rocker of Ideas

The kitchen is a space that reflects many social aspects of the society in its micro or macro appearances. With its culinary delights and radial balance positions of the participants of the space sitting around the table within which the informal hyperboles reflect the relationships in communities. Related relation is formed as a reflection of social relations within selected communities, in the expression of visual art. The latter could provide answers, questions, doubts, tips and facts on the assessment of movements or standstill positions in different forms of community. 

In terms of content and expressive, project COOK THAT IS HARDWORKING AND PRETTY IS MOST PRAISEWORTHY is based on the underlying terms – conceptual elements that are related to the kitchen as well the visual art:

• SPACE – kitchen and visual arts are reflection of a certain material and abstract space. Material space defines the physical layout of the exhibited material and reflects its characteristics, restrictions and advantages. The exhibited material reflects the abstract, a wider space of social, cultural and economic context. The dynamics of movement and association of different spaces is present in the kitchen (influence of different cuisines, kitchenware, people etc.) and visual art (exhibiting worldwide in different exhibition grounds, exhibition events are influencing on one another etc.).
•  ART VALUE  - the visual elements (e.g. color, line, texture, shape) of the exhibited material is evaluated and analyzed. Terms are also used in food and are included as elementary building blocks of visual perception.
  
•  LIFE STYLE – kitchen/food are part of constructing our life style. Cafés are an integral part of museums and galleries.
  

In the Slovene kitchen history people use paper or textile embroidered wall cloth that was placed over the stove. They were extremely visually narrative and at the same time exposing an argument related cooking and social context of domestic life, and establish a certain sociological position of gender equality in the context of cooking and kitchen. Historical images of wall cloths are taken as an inspirational visual starting point. The motifs of five female and one men human figures who are drown to the wall cloths are excluded from the original whole and social context of emergence, and in its contemporary updated version positioned as spatial installation in real size ratio. By moving around the space, visitors experience human figures from various angles and due to different perspective of viewing them and deconstruction of basic visuals of the body, a new body structure is formed responsive to the exhibited space. In addition to the deconstructed bodily forms with various visual interventions, around the exhibited room are hanging inscriptions, which are modified texts taken from the original embroidered wall cloths. The texts are witty, humorous, playful, instructive and sometimes even educational (Blessed is a woman who has a good man; There is nothing more beautiful in the world, as if home stands on happiness; Do not save the water, clean the dishes! etc.). Inscriptions define different identities that women acquire in the context of social consensus in process of cooking and in relation to the kitchen space. The exhibition is accompanied by the music.